moot 


Digitized  by  tlie  Internet  Arcliive 
in  2014 


https://archive.org/details/exhibitionofpainOObrin_0 


SELF-PORTRAIT  OF  IGNACIO  ZULOAGA 
RIABOUCHINSKY  COLLECTION,  MOSCOW 


EXHIBITION  OF  PAINTINGS  BY 

IGNACIO  ZULOAGA 

UNDER  THE  AUSPICES  OF 
MRS.  PHILIP  M.  LYDIG 


WITH  FOREWORD  BY  JOHN  S. 
SARGENT  •  INTRODUCTION 
NOTES  AND  BIBLIOGRAPHY 
BY    CHRISTIAN  BRINTON 


1916-17 


COPYRIGHT  1916  BY  CHRISTIAN  BRINTON 
FIRST      IMPRESSION      SIX      THOUSAND  COPIES 


REDFIELD-KENDRICK-ODELL    CO    •    PRINTERS    •     NEW  YORK 


IGNACIO  ZULOAGA  EXHIBITION 

NOVEMBER  to  AUGUST  INCLUSIVE  1916-17 

THE  COPLEY  SOCIETY  OF  BOSTON  •  THE 
BROOKLYN  MUSEUM  •  THE  DUVEEN 
GALLERIES  NEW  YORK  •  THE  ALBRIGHT 
GALLERY  BUFFALO  •  THE  CARNEGIE 
INSTITUTE  PITTSBURGH  •  CLEVELAND 
MUSEUM  OF  ART  •  THE  ART  INSTITUTE 
OF  CHICAGO  •  THE  CITY  ART  MUSEUM 
OF  ST.  LOUIS  AND  THE  MINNEAPOLIS 
INSTITUTE  OF  ARTS 


GRATEFUL  ACKNOWLEDGMENT  IS  ACCORDED  DIRECTOR  WILLIAM 
HENRY  FOX  OF  THE  BROOKLYN  MUSEUM  FOR  HIS  ASSISTANCE  IN 
ARRANGING   THE   TOUR   OF    THE    IGNACIO    ZULOAGA  EXHIBITION 


PORTRAIT  OF  THE  ARTIST  (DETAIL) 
THE  HISPANIC  SOCIETY  OF  AMERICA 


FOREWORD 

By  JOHN  S.  SARGENT 


An  exhibition  of  the  works  of  Ignacio  Zuloaga  is  an  event  to  be 
proclaimed  as  one  of  supreme  artistic  interest.  With  Spanish 
courtesy  it  is  to  an  American  painter  that  he  confides  the  honour 
of  announcing  him  to  the  American  pubHc.  Little  more  than  a 
word  of  welcome  to  this  great  artist  is  needful  when  one  is  sure 
that  his  genius  will  receive  in  this  country  the  recognition  that 
it  has  conquered  in  the  old  world.  The  strangeness  and  power  of 
Senor  Zuloaga's  evocations  might  lead  one  to  consider  him  as  a 
personality  quite  unique  and  unrelated  to  any  past  tradition;  as 
a  creator  of  types  and  of  a  setting  for  them  charged  with  an  inten- 
sity of  life  strained  to  a  pitch  not  reached  before.  But  it  is  in  this 
very  excess  of  romanticism  that  his  link  with  one  of  the  two  main 
tendencies  of  the  Spanish  school  can  be  recognized.  Realism,  in 
which  it  is  always  steeped,  is  of  course  the  dominant  note  of  this 
school,  but  it  has  periodically  thrown  off  into  the  realms  of  the 
imaginative  some  such  surprising  offshoot  as  el  Greco,  the  mystic, 
and  as  the  magician  Goya.  In  their  hands  this  persistent,  invad- 
ing realism  attacks  what  is  most  transcendental  or  most  fantastic, 
and  gives  it  a  dense  material  existence.  Although  Zuloaga  re- 
verses the  process,  we  may  salute  in  him  the  apparition  of  a  cor- 
responding power.  His  material  belongs  to  reality  and  is  of  the 
earth,  earthy;  but,  as  if  whirled  to  another  planet,  it  seems  to 
acknowledge  the  grip  of  new  laws  and  to  acquire  a  keener  life 
from  new  relationships  imposed  by  this  great  artist's  imperious  will. 


7 


MY  PORTRAIT 

SANTAMARINA  COLLECTION,  PARIS 


INTRODUCTION 

By  CHRISTIAN  BRINTON 
La  nature,  c'est  le  pretexte,  Vart  est  le  hut 

The  popular  misconception  that  the  Spaniards  are  a  predomi- 
nantly Southern  people  is  nowhere  more  convincingly  contradicted 
than  in  the  art  and  personality  of  Ignacio  Zuloaga.  A  Basque, 
and  therefore  belonging  to  one  of  the  oldest  and  staunchest  races 
of  Europe,  Zuloaga  proclaims  his  affinity  with  that  Gothic  strain 
which  has  left  its  indelible  impress  upon  the  Iberian  character 
and  temperament.  The  suavity  of  form  and  imaginative  fervour 
so  typical  of  Italian  painting  for  example,  are  missing  in  the  aesthetic 
production  of  the  Spaniards.  You  are  confronted  in  Spanish  art 
with  an  austerity  and  a  rigorous  sense  of  reality  far  removed 
from  the  mellow  evocations  of  the  Renaissance  or  modern  Italian 
masters. 

A  true  son  of  this  sombre  Gothic  Spain,  this  Spain  that  for 
eight  centuries  has  been  the  scene  of  bitter  strife  and  cynical  op- 
pression, Ignacio  Zuloaga  comes  from  the  town  of  Eibar  which  lies 
hidden  in  the  Cantabrian  mountains  midway  between  San  Sebas- 
tian and  Bilbao.  It  is  impossible  to  form  an  accurate  conception 
of  the  art  of  Zuloaga  without  knowing  something  of  his  early 
surroundings  and  forbears.  The  name  Zuloaga  is  a  place  name, 
there  being  in  the  judicial  district  of  Azpeitia,  in  the  province  of 
Guipuzcoa,  a  sparse  settlement  boasting  some  four  score  souls 
from  whence  the  family  doubtless  originally  derived.  At  all  events 
it  is  Eibar,  the  Toledo  of  the  North,  which  for  over  two  centuries 
has  been  the  home  of  this  dynasty  of  craftsmen  who  through 


9 


their  indomitable  energy  inaugurated  a  memorable  revival  of 
the  art  of  ornamental  metal  work.  Creative  spirits  all,  they  have 
by  turns  been  armourers,  ceramists,  or  painters,  not  infrequently 
practising  each  profession  with  equal  aptitude. 

The  first  of  the  name  to  become  known  to  the  outside  world 
was  Don  Bias  Zuloaga,  a  friend  and  contemporary  of  Goya  and 
great-grandfather  to  the  subject  of  the  present  sketch.  Don  Bias 
was  a  picturesque,  almost  legendary  figure.  He  filled  the  post  of 
armourer  to  the  Guardia  de  Corps  of  Fernando  VII,  worked  much 
for  the  Court,  and  organized  the  Real  Armeria  of  Madrid.  His 
son,  Don  Eusebio  Zuloaga,  who  succeeded  him  as  director  of  the 
Armeria,  evinced  even  greater  artistic  versatility,  for  not  only  was 
he  an  accomplished  armourer,  he  also  made  a  study  of  ceramics 
and  helped  to  re-establish  the  pottery  industry  of  Spain.  Several 
times  married,  Don  Eusebio  was  the  father  of  numerous  children 
among  whom  were  four  talented  sons,  Placido,  German,  Guillermo, 
and  Daniel.  Having  installed  the  first-born,  Placido,  at  Eibar, 
the  patriarchal  Don  Eusebio  took  the  remaining  three  to  France 
in  order  to  initiate  them  into  the  mysteries  of  decorative  pottery 
manufacture  at  Sevres  and  elsewhere.  Of  the  quartette  only 
two  however  attained  maturity,  the  oldest  and  the  youngest — 
Don  Placido,  father  to  the  painter,  and  Don  Daniel,  father  of 
the  seductive  cousins  who  so  persistently  figure  upon  his  can- 
vases. 

From  the  standpoint  of  artistic  achievement  the  most  distin- 
guished member  of  the  family  was  Don  Placido  Zuloaga,  a  veri- 
table latter-day  Benvenuto  Cellini,  a  man  of  consuming  energy 
and  fiery,  unappeased  passions.  He  spent  several  years  in  foreign 
study  and  experiment,  visiting  by  turns  Paris,  St. -Etienne,  Dresden, 


10 


Niirnberg,  Augsburg,  and  Milan.  A  pupil  of  Paul  Lienard  and 
a  colleague  of  Barye  and  Carpeaux,  Placido  Zuloaga  was  almost 
as  fond  of  sculpture  as  of  his  own  specialty.  The  leading  museums 
and  royal  collections  of  Europe  possess  examples  of  the  art  of 
this  consummate  handicraftsman  to  whom  no  feat  of  chiselling, 
damascening,  or  enamelling  seemed  to  present  the  least  difficulty. 
Deeply  versed  in  mediaeval  metal  work  and  a  truly  fecund  spirit, 
he  left  behind  him  pieces  that  compare  favourably  with  the  finest 
productions  of  the  past.  In  the  Luxembourg  Museum  you  may 
see  a  characteristic  ornamental  chest  bearing  his  signature,  while 
in  the  Basilica  de  Nuestra  Senora  de  Antocha  at  Madrid  reposes 
the  impressive  iron  and  bronze  tomb  of  General  Prim.  Don  Pla- 
cido Zuloaga  y  Zuloaga  in  brief  resuscitated  an  art  that  had  be- 
come decadent  and  virtually  extinct,  and  in  doing  so  brought 
undreamed  of  prosperity  to  the  thriving  little  industrial  democ- 
racy with  which  his  name  will  ever  be  associated. 

It  was  in  this  same  town  of  Eibar,  deep-set  between  towering 
mountains  and  cleft  by  the  silver  Rio  Deva  where,  on  July  26, 
1870,  was  born  Ignacio  Zuloaga  y  Zabaleta.  The  lad,  like  his 
elder  brother  Eusebio,  first  saw  light  in  the  solemn,  sixteenth 
century  palacio  which  for  generations  had  been  the  family  home. 
Everything  about  the  place  was  old  and  breathed  the  spirit  of 
bygone  days,  and  it  was  in  this  atmosphere  that  the  boys  and  their 
three  sisters  passed  their  childhood.  In  a  household  where  work 
was  wellnigh  a  religion  it  is  small  wonder  that  the  lads  as  they 
grew  to  manhood  were  destined  by  their  rigorous  father  for  serious 
pursuits.  Eusebio  in  due  course  became  a  mining  engineer  and 
distinguished  metallurgist,  but  Ignacio  presented  a  more  disturbing 
problem.    It  was  at  first  ordained  that  he,  too,  should  study  engi- 


11 


neering,  yet  evincing  a  minimum  capacity  for  mathematics,  a 
compromise  was  effected  in  favour  of  architecture.  Displaying 
even  less  liking  for  the  latter  profession,  the  youthful  and  not 
unrefractory  individualist  was  thereupon  sent  to  the  workshop  to 
learn  the  trade  of  his  ancestors. 

Matters  were  proceeding  with  a  fair  degree  of  equanimity,  and 
it  is  possible  that  the  future  painter  might  have  succeeded  in  the 
parental  calling,  had  it  not  been  for  a  chance  visit  to  Madrid 
where  he  came  for  the  first  time  under  the  spell  of  the  restrained, 
aristocratic  vision  of  el  Greco  and  Velazquez,  and  the  restless 
vitality  of  Francisco  de  Goya.  A  species  of  feverish  exaltation 
appeared  to  take  possession  of  the  young  man's  soul.  A  thousand 
subconscious  atavisms  seemed  to  stir  within  him.  He  haunted 
the  Prado  for  days,  and  finally,  in  eager  supplication,  begged  his 
father  to  buy  him  brushes  and  colours  that  he  might  copy  and 
take  home  to  Eibar  the  likeness  of  a  certain  reserved,  white-ruffed 
nobleman  by  the  enigmatic  Domenikos  Theotokopoulos.  And  it 
may  not  be  amiss  to  add  that  the  copy  proved  an  astonishingly 
able  one,  and  even  to-day  ranks  among  the  artist's  most  cherished 
possessions. 

From  this  period  onward  the  foundry  and  finishing  room  be- 
came distasteful  to  the  awakened  Ignacio.  Fired  by  the  example 
of  his  great  forbears  of  brush  and  palette  he  dreamed  only  of 
becoming  a  painter,  of  following  in  their  inspiring  footsteps.  The 
bitterest  paternal  opposition  was  unable  to  overcome  his  deter- 
mination to  devote  his  life  to  art.  At  last,  acknowledging  defeat, 
his  father  grudgingly  permitted  the  lad,  who  was  barely  nineteen, 
to  depart  for  Rome,  then  fallaciously  deemed  the  artistic  focus 
of  the  universe.    It  was  but  natural  that  this  truculent  young 


12 


montanes  should  have  found  little  to  attract  him  in  the  grandiose 
city  by  the  Tiber  and  the  pretentious  and  effete  production  of  the 
period.  After  passing  a  few  ineffectual  months  in  the  ateliers  of 
the  Via  Margutta  and  various  nearby  trattorias,  he  left  for  Paris 
where,  like  many  another  aspiring  genius,  he  made  his  home  on 
the  Butte  within  the  shadow  of  Sacre-Coeur  and  the  swaying  arms 
of  the  Moulin  de  La  Galette. 

It  is  unnecessary  to  recount  in  detail  the  stark  years  of  strug- 
gle and  privation  that  forthwith  confronted  Ignacio  Zuloaga  and 
the  slender  band  of  compatriots  which  composed  his  immediate 
circle.  The  group  included  that  inimitable  decorative  craftsman 
Francisco  Durrio,  informally  known  as  ''Paco,"  who  still  lives 
and  labours  in  the  Impasse  Girardon,  together  with  the  stressful 
Pablo  de  Uranga  now  peacefully  sequestered  at  Vitoria  in  the 
Pyrenees.  The  robust  Rusinol  also  frequented  Paris  at  this  time, 
while  among  the  Frenchmen  with  whom  Zuloaga  was  in  close 
touch  may  be  mentioned  Gauguin,  Toulouse-Lautrec,  and  Charles 
Morice.  Thrown  upon  his  own  resources  he  more  than  once 
faced  starvation,  and  even  now  cannot  traverse  the  rue  Cortot 
or  the  rue  des  Saules  without  an  involuntary  shudder  at  the  recol- 
lection of  those  days  of  alternate  hope  and  despair.  And  yet  the 
sturdy  Basque  was  not  fated  to  succumb  to  any  of  the  conventional 
fatalities.  A  certain  antique  austerity  of  temper  characterized 
his  attitude  alike  toward  life  and  toward  art.  He  was  no  trifler. 
Deep-chested  and  majestic  of  appearance  he  made  his  presence 
felt  in  any  company. 

Dowered  with  an  innate  sense  of  actuality  the  young  expa- 
triate first  began  painting  local  types  and  street  scenes  something 
after  the  manner  of  the  neo- Impressionists  with  whose  aims  he 


13 


felt  in  more  or  less  sympathy.  Such  subjects,  which  he  confesses 
did  not  greatly  attract  him,  were  supplemented  by  memory 
sketches  of  a  land  that  was  eventually  to  absorb  his  entire  artistic 
effort.  While  at  rare  intervals  he  showed  a  few  canvases  in 
temporary  quarters  borrowed  for  the  purpose,  Zuloaga's  actual 
professional  debut  occurred  during  the  season  of  1890-1  under 
the  progressive  aegis  of  Le  Bare  de  Boutteville  in  the  rue  Le 
Peletier.  His  fellow-exhibitors  on  this  occasion  numbered  such 
men  as  Gauguin,  van  Gogh,  Signac,  Toulouse-Lautrec,  Vuillard, 
Emile  Bernard,  and  Maurice  Denis,  a  group  later  augmented  by 
the  redoubtable  Cottet.  Zuloaga's  contribution  was  a  view  of 
the  outer  boulevards  and  the  portrait  of  a  beggar,  both  executed  in 
a  vein  of  subdued  tonality  in  strong  contrast  with  the  work  that 
was  to  follow.  In  point  of  fact  he  had  not  thus  far  found  himself. 
He  was  still  experimenting,  and  although  he  admired  Monet  and 
Degas,  and  paid  tribute  to  the  poignant  Carriere  and  the  pellucid 
Puvis,  it  was  necessary  for  him  to  look  inward  rather  than  out- 
ward, to  rediscover  for  himself  his  own  aesthetic  patrimony. 

Meeting  with  no  success,  and  being  at  the  end  of  his  meagre 
resources,  our  young  Spaniard  next  crossed  the  Channel  to  Lon- 
don where  his  father  was  known  to  certain  wealthy  collectors 
and  where  he  in  consequence  hoped  to  secure  a  footing.  He 
luckily  managed  to  paint  a  few  portraits,  among  others  one  of 
the  late  Oscar  Browning,  with  the  none  too  substantial  returns 
from  which  he  straightway  embarked  for  Spain.  After  pausing 
at  Bermeo  in  Vizcaya  in  order  to  rehabilitate  his  fortunes  by 
decorating  the  local  casino,  he  proceeded  to  Se villa  where  he  set 
to  work  with  unbounded  energy  and  enthusiasm.  Here  at  last 
he  seemed  to  come  into  his  own.    The  sun-drenched  soil,  the  lan- 


14 


gorous  Andaluz,  the  sinuous,  glittering  gitanas,  the  beggars, 
dwarfs,  and  swarthy  water-carriers  all  exercised  an  imperative 
fascination  over  one  who  had  suffered  hunger  and  isolation  on 
the  heights  of  Montmartre  and  whose  brain  had  been  confused 
by  the  jargon  of  countless  cliques  and  coteries.  Mixing  in  free, 
fraternal  fashion  with  all  classes  he  now  haunted  the  Sevillian 
Triana,  now  frequented  the  ever-popular  Plaza  de  Toros. 

Yet  you  must  not  assume  because  he  was  inspired  by  the  elo- 
quent subject-matter  which  unfolded  itself  before  him  that  Zulo- 
aga  achieved  for  several  years  to  come  anything  approaching 
adequate  recognition  or  remuneration.  The  few  scattered  can- 
vases he  meantime  sent  to  Paris  passed  virtually  unregarded. 
Scarcely  anyone  noted  the  two  portraits  that  marked  his 
appearance  at  the  New  Salon  of  1894,  while  the  American  artist 
Dannat  alone  had  the  discrimination  to  purchase  one  of  the  series 
of  figure  studies  entitled  la  Espana  blanca  seen  the  same  season 
at  Le  Bare  de  Boutteville's.  Bitter  times  were  in  fact  still  in 
store  for  the  young  Basque  whose  spirit  nevertheless  continued 
unbreakable  no  matter  what  the  conditions  he  was  forced  to  face. 
Despairing  of  making  a  living  by  the  brush  he  was  for  a  while  a 
dealer  in  antiques,  and  also  an  accountant  with  a  mining  com- 
pany in  the  Sierra  Morena  district.  The  bull-ring,  too,  attracted 
him,  and  on  occasions  he  would  bury  himself  in  the  remotest  and 
most  inaccessible  corners  of  the  Peninsula,  consorting  with  the 
vintners  of  la  Rioja,  the  smugglers  and  cutthroats  of  Aragon, 
and  the  hideous  brujas  of  las  Batuecas.  An  insatiable  appetite 
for  the  primitive,  unspoiled  aspects  of  his  country  has  indeed 
more  than  once  lured  him  outside  the  confines  of  conventionally 
organized  society. 


15 


If  neither  Paris  nor  Madrid  was  sufficiently  free  from  academic 
atrophy  to  recognize  the  force  and  verity  of  Zuloaga's  transcrip- 
tions of  Spanish  theme  the  same  fortunately  cannot  be  said  of 
Barcelona.  To  the  exhibition  of  1896  he  sent  the  canvas  entitled 
Friends,  which  not  only  attracted  favourable  notice  but  was  pur- 
chased for  the  Municipal  and  Provincial  Museum  of  the  Catalon- 
ian  capital.  It  was  a  modest  beginning,  still  in  a  measure  it  paved 
the  way  for  a  more  conclusive  triumph  when  his  My  Cousins  and 
My  Uncle  Daniel,  which,  figuring  simply  as  Portraits,  at  the 
Salon  of  1899,  found  permanent  place  upon  the  walls  of  the  Lux- 
embourg. At  once  traditional  and  individual  this  canvas  opened 
the  eyes  of  the  world  to  the  merit  of  a  newcomer  who  had  some- 
thing to  say  and  who  could  say  it  with  due  regard  for  the  past 
yet  without  sacrificing  his  own  artistic  identity.  Painted  at 
Segovia  where  he  had  retired  for  a  time  from  the  attractions  of 
Andalucia,  the  picture  marks  the  inception  of  a  veritable  cycle 
dedicated  to  the  celebrated  ceramist  Don  Daniel  Zuloaga  and  his 
three  incomparable  daughters.  For  the  past  eighteen  years 
Zuloaga  has  in  fact  spent  a  portion  of  each  season  at  Segovia, 
and  in  order  to  gather  an  adequate  impression  of  his  growth  and 
development  we  must  glance  at  him  as  he  lives  and  works  in  this 
typical  Old  Castillian  town. 

Dominated  by  the  Alcazar  that  sweeps  athwart  the  horizon 
like  some  majestic  galley  of  bygone  days,  and  straddled  by  the 
giantesque  Acueducto  which  is  the  most  imposing  Roman  monu- 
ment now  standing  in  Spain,  Segovia  la  vieja  breathes  the  spirit  of  the 
Reconquista.  Avila  is  full  of  mystic  exaltation,  Burgos  is  the 
home  of  romance,  but  Segovia  sleeps,  sleeps  and  dreams  of  her 
dark  and  stressful  past.    Zuloaga  has  at  various  periods  occupied 


16 


three  different  studios  at  Segovia,  the  first,  situated  in  the  San 
Millan  quarter,  being  known  as  the  Casa  del  Crimen  on  account 
of  its  having  been  the  scene  of  numerous  violent  and  sanguinary 
episodes.  It  was  here  that  he  painted  A  Piquant  Retort,  Gipsy 
Coquetry,  and  other  important  canvases,  the  grim  pile  with  its 
tangled  garden  at  the  back  costing  him  but  fifteen  pesetas  a 
month.  On  account  of  the  difficulty  he  experienced  in  persuad- 
ing models  to  trust  themselves  within  these  unsavoury  precincts 
he  next  moved  to  la  Canonjia  vieja,  a  frowning,  fortress-like 
structure  wherein  were  enacted  divers  sinister  dramas  of  the 
Inquisition.  There  were  various  things  about  la  Canonjia  that 
appealed  to  a  man  of  Zuloaga's  temperament  and  here  he  remained 
several  years,  until,  in  fact,  he  moved  into  his  present  quarters  in 
the  abandoned  Romanesque  church  of  San  Juan  de  los  Caballeros. 

The  Zuloaga  that  certain  of  us  know  and  have  visited  during 
the  summer  months  in  Segovia,  sleeps  and  takes  his  meals  at  a 
modest  casa  in  the  Plazuela  de  San  Justo  and  works  daily  in  a 
lofty  studio  walled  off  from  the  rest  of  the  church  and  lit  from  a 
window  cut  into  the  solid  masonry  for  a  depth  of  some  five  feet. 
The  room  is  notable  for  its  restrained  simplicity,  a  rush  matting 
covering  the  stone  floor,  a  chair  or  two  over  the  backs  of  which 
are  flung  bull-fighter  or  gipsy  costumes,  an  ornamental  bridle 
suspended  from  a  peg  in  the  wall,  and  two  carved  statuettes  of 
Christ  being  all  the  accessories  that  greet  the  eye.  It  is  here  for 
some  months  each  season,  usually  from  July  until  December,  that 
Zuloaga  passes  his  most  productive  period.  He  has,  it  is  true, 
lately  built  himself  a  summer  home  at  Zumaya,  near  the  coast 
between  San  Sebastian  and  Eibar,  but  it  is  certain  that  he  will 
never  forego  the  eloquent  pictorial  appeal  of  Segovia. 


17 


His  chief  source  of  inspiration  has  not  unnaturally  proved  to 
be  the  family  of  his  uncle  Don  Daniel,  for  Zuloaga  is  before  all 
else  a  painter  of  portraits,  not  portraits  in  the  conventional  accep- 
tation of  the  term  but  nevertheless  portraits  whether  of  nature 
or  of  humanity.  Locally  known  as  "el  alquimista  de  San  Juan 
de  los  Caballeros,"  and  throughout  Spain  as  "el  gran  ceramico," 
Daniel  Zuloaga  continues  unbroken  the  tradition  of  his  forefathers. 
Painter  as  well  as  potter,  he  leads  the  life  of  a  sixteenth  century 
craftsman,  and  when  you  see  him,  bearded  and  clad  in  long,  flow- 
ing blouse,  adding  a  touch  of  colour  to  some  ornate  composition 
or  feverishly  firing  the  clay,  your  mind  travels  back  to  Faust's 
kitchen  and  the  spell  of  mediaeval  necromancy.  And  not  less 
suggestive  from  the  standpoint  of  artistic  possibility  are  the  aged 
alchemist's  three  daughters,  las  Senoritas  Candida,  Theodora,  and 
Esperanza,  essentially  Spanish  in  their  spirited  fascination  or  lan- 
guorous inquietude.  It  is  not  difficult  on  meeting  them,  in  watch- 
ing them  at  the  local  cinema  or  bull-fight,  or  kneeling  before  the 
altar  of  San  Marcos  at  the  end  of  an  afternoon  stroll,  to  see  why 
the  painter  has  so  frequently  portrayed  these  expressive  types. 
"Las  primas"  as  they  are  always  called,  represent  to  Zuloaga 
something  more  than  three  specific  young  creatures.  They  are 
to  him  symbols  of  Castillian  femininity  and  assume  upon  his  can- 
vases commensurate  significance. 

Although  congenially  installed  at  Segovia  and  well  launched 
upon  his  career,  the  arduous  professional  struggle  was  neverthe- 
less by  no  means  ended  despite  the  fact  that  Ignacio  Zuloaga  had 
won  his  place  at  the  Salon  and  upon  the  walls  of  the  Luxembourg. 
Early  in  1899,  when  arrangements  were  being  completed  for  the 
Universal  Exposition  of  the  following  year,  the  young  painter 


18 


naturally  hoped  for  representation  in  the  Spanish  section.  A 
jury  composed  of  his  own  countrymen,  true  to  the  spirit  of  the 
Inquisition,  nevertheless  refused  to  accept  a  single  one  of  his 
pictures.  There  being  no  appeal  he  kept  the  rejected  canvases  in 
Paris  where  he  showed  them  to  a  few  friends  and  thence  departed 
for  Brussels.  Exhibited  under  the  enlightened  auspices  of  the 
Libre  esthetique  his  work  achieved  instant  success,  and  he  further- 
more had  the  satisfaction  of  seeing  the  most  important  subject, 
entitled  Before  the  Bull-fight,  acquired  by  the  Modern  Gallery  of 
the  Belgian  capital.  Though  the  flagrant  injustice  vouchsafed 
him  at  the  hands  of  his  compatriots  was  thus  in  a  measure  com- 
pensated for,  the  turbulent  Spaniard's  career  is  replete  with  just 
such  episodes.  His  art  is  even  to  this  day  unappreciated  by  cer- 
tain sentimental  Franco-Spaniards  who  still  prostrate  themselves 
before  the  facile  sparkle  of  Fortuny  and  the  insipidity  of  Jules 
Worms.  They  hold  that  Zuloaga  caricatures  his  subjects,  unmind- 
ful of  the  sublime  distortions  of  el  Greco,  the  macaberesque  evo- 
cations of  Valdes  Leal,  or  the  frenzied  diabolism  of  Francisco  de 
Goya. 

Little  by  little  however  the  resolute  Vasco  who  is  assuredly 
no  weakling,  managed  to  impose  his  conception  of  Iberian  life 
and  scene  upon  the  public  consciousness.  A  few  faithful  recruits 
rallied  to  his  support,  and  before  long  he  came  to  be  recognized  as 
a  veritable  modern  master,  as  one  who,  while  embodying  the 
spirit  of  a  former  age,  adds  thereto  his  own  independent  contri- 
bution. MM.  Arsene  Alexandre  and  Paul  Lafond  in  France,  M. 
Octave  Maus  in  Belgium,  and  Herren  von  Tschudi  and  Meier- 
Graefe  in  Germany,  were  among  the  earliest  to  champion  his 
cause,  and  it  may  not  be  amiss  to  cite  the  comprehensive  illus- 


19 


trated  paper  published  in  the  Century  Magazine  for  January, 
1905,  which  was  the  first  article  devoted  to  Zuloaga  in  the  Amer- 
ican periodical  press. 

We  may  consider  the  success  Zuloaga  achieved  at  Brussels  as 
the  turning  of  the  tide  which  since  that  date  has  unfailingly 
flowed  in  his  favour.  His  appearance  at  the  International  Expo- 
sition of  Venice  in  1901  when  Aunt  Luisa  was  secured  for  Inter- 
national Gallery  of  Modern  Art,  and  the  acquisition  the  same 
season  of  Consuela  by  the  Bremen  Kunsthalle  marked  further 
steps  in  the  upward  climb.  At  Diisseldorf  in  1904  he  met  with 
the  distinction  accorded  only  Menzel,  Rodin,  and  himself  of 
having  a  separate  room  allotted  to  his  work,  while  those  in  charge 
of  the  Barcelona  International  Exposition  of  1907  followed  this 
lead  in  displaying  thirty-four  of  his  canvases  in  still  more  impos- 
ing fashion.  It  should  be  unnecessary  to  recall  in  this  connexion 
his  appearance  at  The  Hispanic  Society,  New  York,  two  years 
later,  on  which  occasion  he  was  represented  by  thirty-eight  some- 
what heterogeneously  assorted  works,  among  them  however  being 
not  a  few  of  the  finest  products  of  his  brush.  And  not  only  North 
America  but  South  America  also  paid  tribute  to  the  merit  and  repu- 
tation of  the  young  exponent  of  Spanish  life  and  character,  the 
exhibition  seen  at  Buenos  Aires  and  elsewhere  during  1910  being 
the  most  successful  he  had  thus  far  held. 

Significant  as  were  these  events,  the  climax  of  Zuloaga's  career 
was  the  recognition  accorded  him  at  the  International  Exposition 
of  Rome  in  1911.  Specially  installed  in  separate  quarters  in  the 
Belle  Arti  were  twenty-six  canvases  that  proved  the  sensation  of  the 
exhibition  and  won  for  him  the  Grand  Prix.  The  present  collection, 
which  is  the  largest  and  most  representative  ever  assembled,  unites 


20 


all  phases  of  his  production.  It  reveals  him  in  the  plenitude  of 
his  power,  mature  and  unfatigued,  a  sovereign  individualist,  yet  a 
true  son  of  that  proud,  restrained  race  to  which  he  owes  allegiance. 

A  familiarity  with  the  objective  aspects  of  Zuloaga's  achieve- 
ment is  nevertheless  insufficient  for  an  intelligent  comprehension 
of  his  contribution  to  modern  painting.  Behind  the  man  and  his 
work  loom  certain  general  ideas,  and  it  is  these  same  ideas,  elu- 
sive as  they  may  seem,  that  we  shall  herewith  endeavour  to  cast 
into  relief.  The  art  of  Zuloaga  in  its  earlier  phases  belongs  to 
the  category  of  illustration.  It  displays  unquestioned  affinity 
with  the  legacy  of  that  princely  illustrator  Diego  Rodriguez  de 
Silva  y  Velazquez.  It  depicts  with  scant  variation  or  alteration 
facts  that  meet  the  eye  of  the  average  beholder.  Selection  and 
arrangement  of  course  enter  into  such  problems,  though  the  essen- 
tial elements  of  every-day  existence  are  placed  before  us  much  as 
they  appear  in  ordinary  life.  It  is  with  his  predecessors  Velaz- 
quez and  Llanos,  and  his  colleagues  Cottet  and  Henri  Evenepoel 
that  Zuloaga,  in  his  formative  period,  may  be  compared.  Imagi- 
nation does  not  play  a  conspicuous  part  in  work  of  this  character. 
Though  it  may,  and  often  does,  betray  a  high  degree  of  emotional 
eloquence  its  spirit  is  mainly  descriptive  and  realistic.  It  makes 
appeal  through  its  power  of  observation  and  presentation  rather 
than  through  its  power  of  organization  or  invention. 

Apart  from  portraits,  of  which  he  paints  a  certain  number 
both  of  Spaniards  and  of  those  more  or  less  important  interna- 
tionals who  annually  illumine  Paris,  Zuloaga's  subjects  fall  into 
four  main  divisions,  each  devoted  to  a  strongly  marked  segment 
of  Peninsular  society.  First  in  this  pictorial  treasury  of  native 
theme  comes  the  Spanish  woman  who  typifies  that  imperious 


21 


seduction  we  instinctively  associate  with  her  race  and  sex.  Now 
full  of  subtropical  lassitude,  now  roused  by  the  sting  of  desire 
she  flaunts  from  these  canvases  sure  of  her  power,  supreme  in  her 
avid  animalism.  Next  we  encounter  a  strangely  assorted  col- 
lection of  individuals,  deformed  and  distorted  almost  beyond  human 
semblance,  cripples,  dwarfs,  witches,  and  leering  jades  who  fulfil 
all  possible  demands  for  that  picaresque  note  which  is  so  pecu- 
liarly Spanish  and  which  attains  such  prominence  in  the  paintings 
of  Velazquez  and  the  pages  of  Aleman  or  Quevedo.  The  bull- 
fight, with  its  combination  of  bodily  grace  and  flexibility  and  de- 
liberate, sinister  cruelty,  and  religion,  with  its  frenzied  exaltation 
and  often  sanguinary  self-torture,  complete  this  panorama  of 
contemporary  Spanish  life. 

In  treating  such  subjects  the  art  of  Zuloaga  bases  itself  upon 
that  of  his  great  precursors,  Herrera,  Ribera,  Velazquez,  and 
Goya.  Like  them  he  is  explicit  in  his  outlook,  and  like  certain 
of  them,  and  more  especially  el  Greco  and  Goya,  he  is  also  not 
without  a  strong  savour  of  mysticism  and  romantic  fervour.  At 
first  a  succession  of  isolated  individuals  and  episodes  this  work 
gradually  came  to  reveal  traces  of  co-ordination.  In  due  season 
the  illustrator  became  the  interpreter,  and  that  which  was  par- 
ticular took  on  general  significance.  The  mere  record  of  fact,  of 
external  appearance  no  longer  affording  satisfaction,  he  endeav- 
oured to  present  a  synthesis  of  that  which  passed  before  him. 
Beginning  with  a  wholesome  reliance  upon  precedent  he  little  by 
little  submitted  to  the  primacy  of  tendencies  that  were  more 
personal.  A  diminishing  objectivity  and  an  increasing  subjec- 
tivity have  in  short  marked  the  more  recent  phases  of  his  devel- 
opment. 


22 


The  technique  of  the  eadier  paintings  is  the  technique  of  tra- 
dition. In  Daniel  Zuloaga  and  his  Daughters  dark  figures  are 
stencilled  against  a  neutral  background.  And  in  this  canvas,  and 
the  more  consciously  conceived  composition  entitled  Before  the 
Bull -fight,  you  will  note  the  same  distant,  undulant  landscapes 
common  to  the  older  masters.  Something  akin  to  the  once  pop- 
ular regard  for  classic  spaciousness  and  equipoise  characterizes 
the  Promenade  after  the  Bull-fight,  while  in  the  Street  of  Love 
we  are  face  to  face  with  one  of  those  composite  effects  built  up 
from  various  individual  units.  In  each  instance  the  elements  are 
ready  at  hand,  though  even  at  this  date  he  did  not  hesitate  to 
combine  and  adjust  according  to  his  predilection.  You  will  grasp 
better  the  genesis  and  evolution  of  his  method  if  you  bear  in  mind 
the  fact  that  his  only  preceptors  were,  according  to  his  own  state- 
ment, "nature  and  the  museums." 

That  Ignacio  Zuloaga  never  set  foot  inside  an  art  school  or  acad- 
emy, that,  as  he  pithily  puts  it,  "All  I  knew  of  the  Ecole  des  Beaux- 
Arts  was  the  view  one  has  of  it  from  the  windows  of  the  Louvre," 
appears  in  nowise  to  have  mitigated  against  his  progress.  He 
drew  from  the  first  with  vigour  and  decision.  His  figures  were 
solidly  constructed  and  his  sense  of  composition  correct  though 
by  no  means  conventional.  Scarcely  a  vivid  colourist,  he  never- 
theless employed  colour  in  a  manner  that  differentiated  him  from 
the  older  men.  It  would  indeed  be  difficult  to  match  for  har- 
monic resonance  the  flowing  robes  of  the  women  in  the  Promenade 
after  the  Bull-fight  or  the  rose-red  frock  with  film  of  lace  about 
waist  and  flounce  that  screens  the  piquant  form  of  the  actress 
Consuela.  "I  did  not  paint  her,"  he  confessed,  "because  she  was 
particularly  beautiful  or  famous,  but  because  I  saw  in  her  a  cer- 


23 


tain  Goyesque  air."  And  with  the  little  brown  and  white  dog  at 
her  feet,  and  the  sweeping  landscape  and  grey-green  sky  in  the 
background,  she  constitutes  a  fitting  tribute  to  the  stormy,  sen- 
sitive soul  who  immortalized  the  Duquesa  de  Alba. 

Zuloaga's  palette  though  richly  set  is  restricted  in  range.  He 
prefers  as  a  rule  warm  browns,  dark  reds,  green,  yellow,  purple, 
silver-grey,  and  black.  Blue  is  unsympathetic  to  him  and  is 
rarely  found  in  his  compositions.  It  has  been  my  privilege  on 
numerous  occasions  to  watch  him  before  the  easel  both  at  his 
Paris  studio  in  the  rue  Caulaincourt  and  in  the  solemn  side  chapel 
of  San  Juan  de  los  Caballeros,  the  silence  broken  only  by  faint 
cries  from  the  street  or  the  sound  of  countless  church  and  monas- 
tery bells.  Unlike  most  artists  he  makes  no  preliminary  sketches. 
When  he  wanders  abroad  to  study  native  types  and  scenes  at 
first  hand,  or  stands  upon  the  terrace  surveying  the  shimmering, 
wide-horizoned  panorama  of  Vieja  Castilla,  he  has  with  him  no 
painter's  kit,  no  brushes,  tubes,  or  canvas.  All  he  carries  is  a 
small,  compact  leather-bound  notebook  wherein  he  transcribes  in 
free,  legible  script  certain  suggestions  which  he  afterward  trans- 
lates into  line,  form,  and  colour.  "Mis  dibujos  los  escribo,"  he 
says,  and  these  written  sketches  merely  serve  to  recall  impressions 
that  might  otherwise  become  fogged  or  effaced. 

The  capacity  for  synthetic  observation  implied  by  such  an 
attitude  finds  appropriate  expression  when  he  undertakes  the 
painting  of  a  picture.  A  long  process  of  incubation  precedes  the 
actual  work  upon  each  composition.  He  ponders  deeply  every 
detail  and  when  the  mental  pattern  is  sufficiently  clear,  and  the 
creative  impulse  sufficiently  strong,  he  attacks  one  of  his  big 
canvases  with  confident  surety.    He  first  draws  the  main  outlines 


24 


boldly  in  charcoal  upon  a  light  grey  ground  and  then  applies  the 
pigment  in  firm,  resolute  passages  instinct  with  rhythmic  power. 
In  a  method  so  reasoned,  so  deliberate,  nothing  is  left  to  chance. 
There  are  no  surprises,  no  accidents  fortunate  or  otherwise.  All 
is  preconceived,  prearranged,  and  the  touch  is  that  of  the  sculptor 
rather  than  that  of  the  painter.  Generations  of  ancestors  who 
were  accomplished  modellers  seem  to  have  imparted  to  him  a 
marked  feeling  for  plastic  form.  In  looking  at  these  sturdily  con- 
structed compositions  where  there  is  no  suspicion  of  faltering  or 
incertitude  you  are  apt  to  recall  the  triumphs  of  past  ages,  the 
expressive  statuettes  of  Alonso  Cano,  for  instance,  carved  out  of 
wood  and  coloured  in  the  image  of  nature.  Zuloaga  seems  to  be- 
long to  an  older  epoch.  He  appears  to  possess  no  nerves.  His 
conceptions  are  wrought  in  rare  strength  of  spirit  and  physical 
fortitude. 

It  is  scarcely  to  be  wondered  that  a  temperament  so  arbitrary 
and  so  dominant  should  in  due  course  have  impelled  Zuloaga  to 
select  his  own  themes  and  perfect  his  own  manner  of  treatment. 
From  1908  onward  we  note  a  change  in  his  work,  a  pronounced 
intensification  of  vision  and  interpretation.  The  impeccable 
Velazquez  yields  place  in  his  admiration  to  the  hieratic  el  Greco. 
If  Las  Lanzas  may  be  called  a  military  ceremonial,  and  the  Prom- 
enade after  the  Bull-fight  a  glimpse  of  the  social  pageantry  of 
the  Plaza  de  Toros,  we  nevertheless  do  not  again  meet,  save  in 
certain  of  the  more  cosmopolitan  portraits,  anything  approximating 
this  same  atmosphere  of  studied  distinction.  We  enter,  to  the 
contrary,  a  world  wherein  horrific  creatures  huddle  together 
upon  stark  hillside,  and  where  the  stain  of  the  serpent  or  the 
sting  of  the  scourge  leaves  its  scarlet  trail  across  trembling  flesh. 


25 


The  Sorceresses  of  San  Millan,  the  Women  of  Sepulveda,  and  the 
more  rufescent  Flagellations  and  Crucifixions,  as  well  as  such 
apparitions  as  The  Victim  of  the  Fete  mark  the  ascendency  in 
Zuloaga's  work  of  that  taste  for  Gothic  gloom  and  frenetic  fan- 
tasy which  is  a  legitimate  portion  of  his  artistic  heritage.  You 
cannot  ignore  such  themes  in  any  consideration  of  the  Spanish 
temperament,  a  temperament  wherein  love  and  cruelty  closely  com- 
mingle and  piety  and  punishment  go  hand  in  hand.  The  art  that 
confronts  you  in  these  later  productions  is  an  art  full  of  potent 
atavisms  from  which  no  one  of  Zuloaga's  persuasion  could  reason- 
ably escape,  and  in  projecting  such  tendencies  upon  canvas  he 
but  gives  proof  of  his  courage  and  racial  integrity.  You  may  not 
relish  certain  of  these  scenes,  yet  you  are  compelled  to  admit 
their  ethnic  as  well  as  aesthetic  inevitability. 

Coincidental  with  the  change  in  subject-matter  comes  a  corre- 
sponding change  of  style  and  technique.  In  dealing  with  ideas  as 
well  as  impressions  Zuloaga's  vision  properly  assumes  a  more 
abstract  form.  The  figures,  instead  of  remaining  detached  sil- 
houettes as  in  various  earlier  canvases,  show  an  increased  sense  of 
volume,  the  landscape  setting  is  no  longer  incidental  but  frankly 
scenographic,  while  the  general  effect  reveals  a  heightened  degree 
of  decorative  synthesis.  Something  of  the  ardent  joy  of  actual 
aesthetic  creation  characterizes  not  a  few  of  the  more  recent  com- 
positions. The  red  robe  of  the  cardinal  or  the  variegated  pattern 
of  an  oriental  shawl  flung  over  the  body  of  a  dancer  play  their 
appointed  parts  in  comprehensively  conceived  schematic  arrange- 
ments. The  love  of  arabesque,  of  formal  distribution  and  balance, 
has  not  however  been  achieved  at  the  sacrifice  of  feeling  or  char- 
acter.   You  are  always  in  the  presence  of  virile,  forceful  human 


26 


beings,  while  remote  monasteries  clustered  against  craggy  moun- 
tainside with  restless  clouds  scudding  overhead,  acquire,  through 
sheer  significance  of  line,  mass,  and  simulated  movement,  the 
power  of  independently  arousing  emotion  and  inducing  mood.  In 
the  words  of  the  pedantic  but  not  unillumined  Pacheco,  Zuloaga's 
art,  in  its  more  subtle  phases,  seems  indeed  "formados  por  la 
meditacion  del  alma." 

The  most  successful  instances  of  the  newer  manner  are  the 
Women  of  Sepulveda  and  certain  of  the  smaller  landscape  views 
without  figures.  Recalling  in  its  decision  of  outline  the  little- 
known  work  of  Antonio  Puga,  the  Women  of  Sepulveda — veri- 
table she  eagles  in  their  rocky  aerie — is  high  in  key,  the  general 
tonality  suggesting  a  grey,  Gothic  half-light  wherein  the  spirit 
finds  free  play  and  barkens  to  unaccustomed  premonitions.  Any 
species  of  subjective  interpretation  which  one  may  choose  to  in- 
dulge in  while  contemplating  these  canvases  is  nevertheless  a 
purely  optional  matter.  Though  you  are  at  liberty  to  assume 
that  this  sense-enslaved  creature  typifies  her  sister  who  long  since 
sighed  from  the  housetops  of  Babylon,  that  Gregorio  is  a  gro- 
tesque symbol  of  mortal  deformity,  or  Francisco  upon  his  sham- 
bling hack  the  Rider  on  the  White  Horse,  the  painter  does  not 
insist  upon  such  inferences.  On  the  surface  this  art  remains 
resolutely  objective.  You  have  before  you  merely  certain  specific 
facts  seen  through  an  ardently  emotional  temperament.  And  here 
also  has  Zuloaga  continued  true  to  the  master  currents  of  Spanish 
art,  an  art  wherein  the  note  of  realism  and  the  note  of  mysticism 
are  so  strangely,  yet  so  convincingly  blended. 

On  the  numerous  occasions  when  Ignacio  Zuloaga  and  I  have 
found  ourselves  together — whether  at  Vincent's  overlooking  the 


27 


incandescent  panorama  of  Paris  by  night,  at  his  favourite  Roman 
trattoria  opposite  the  Fountain  of  Trevi,  in  the  seclusion  of  the 
family  palacio  at  Eibar,  or  seated  before  one  of  Dona  Julia's 
delectable  Segovian  dinners — the  conversation  has  not  infre- 
quently turned  upon  art.  It  has  usually,  I  hasten  to  add,  assumed 
the  form  of  an  inspiring  monologue  delivered  with  deep-toned 
conviction  and  pointed  phrase. 

''I  realize,"  he  once  confessed  in  retrospective  vein,  "that  I 
belong  to  another  age,  that  I  have  remained  a  sixteenth  century 
person,  like  the  surroundings  in  which  I  grew  up.  I  have  a  horror 
of  every  manifestation  of  modernism.  My  distaste  for  things 
modern  includes  of  course  painting,  most  of  which,  impressionis- 
tic, pointillistic,  cubistic,  futuristic,  or  whatever  you  may  choose 
to  term  it,  seems  to  me  feeble  and  neurasthenic.  The  primitives 
and  the  early  Egyptians  with  their  rigorous  economy  of  line, 
form,  and  tone  afford  me  more  pleasure  than  I  derive  from  the 
work  of  my  contemporaries.  As  to  modern  music  it  distresses 
me  because  of  its  complexity.  I  much  prefer  Palestrina  and  Bach, 
and  in  the  way  of  literature,  though  once  a  great  reader,  I  now 
scarcely  open  a  book  or  glance  at  the  newspaper." 

Another  time,  in  discussing  the  personal  equation  in  art,  he 
observed: — "I  abhor  with  all  my  being  mere  slavish  fidelity  to 
fact — the  stupid  and  servile  expedient  of  those  who  are  content 
simply  to  copy  nature.  I  hold  that  the  painter  is  entitled  to 
arrange,  compose,  magnify,  and  exalt  those  elements  that  go  to 
make  up  a  given  scene.  How  is  it  possible  for  anyone  still  to 
believe  that  we  should  prostrate  ourselves  before  actuality,  espe- 
cially to-day  when  we  have  at  our  disposal  the  camera,  the  cine- 
matograph, and  colour  photography.    Does  not  art  exist  in  the 


28 


brain  and  heart  as  well  as  in  the  eye?  The  longer  I  live  the  more 
I  detest  those  trivial,  snap-shot  effects  without  a  trace  of  individ- 
uality, of  strangeness,  or  imaginative  force.  We  must  simplify 
ourselves;  we  must  go  back  to  the  source  of  things.  Art  must 
submit  to  profound  and  far-reaching  changes.  And  while  I  can- 
not bring  myself  to  countenance  the  vagaries  of  cubism,  futurism, 
and  the  like  I  frankly  hold  that  painting  should  be  more  cerebral, 
more  ready  to  accept  certain  definite  limitations  and  sacrifices. 
We  cannot  hope  to  depict  all  phases  of  nature  and  feeling  with 
equal  success  so  we  should  strive  to  fortify  and  intensify  such 
talents  as  we  may  possess.  Though  caring  more  for  the  older 
art,  I  am  by  no  means  an  enemy  of  all  that  is  new.  I  greatly  ad- 
mire for  instance  the  unquestioned  sincerity  and  austere  devo- 
tion to  the  absolute  exhibited  by  such  a  man  as  Pablo  Picasso." 

It  would  be  possible  to  transcribe  a  quantity  of  such  notes,  for 
whenever  the  spirit  seized  him,  or  some  suggestion  came  from 
without,  Zuloaga  would  launch  upon  one  of  these  illuminating 
dissertations.  He  seemed  to  have  thought  deeply  along  kindred 
lines  and  apparently  relished  the  opportunity  afforded  for  unham- 
pered expression.  In  Guipuzcoa  while  watching  the  supple 
Basques  dance  the  aurrescu  on  the  moonlit  greensward,  seated  in 
the  cafe  La  Marina  at  Madrid,  reverently  visiting  the  Prado,  or 
driving  home  from  the  blood-soaked  Plaza  de  Toros,  he  was  always 
the  same,  always  serious,  observant,  and  full  of  inborn  dignity  of 
mien  and  mood.  On  the  occasion  of  our  last  meeting  I  recall  that 
in  speaking  of  his  plans  for  the  future  he  remarked  with  salutary 
independence  and  determination: — "I  work  ever  with  more  and 
more  enthusiasm,  my  brain  teeming  with  fresh  ideas  and  inspir- 
ations.   I  am  more  and  more  obsessed  by  dreams  which  I  fear  I 


29 


may  never  realize,  but  nothing  can  divert  me  from  my  appointed 
path.  I  paint  only  that  which  I  like,  in  the  way  I  wish  to  paint  it, 
and  according  to  the  dictates  of  my  taste  and  temperament.  Essen- 
tially and  exclusively  Spanish  in  my  sympathies,  I  love  my  coun- 
try with  passionate  ardour  and  am  unhappy  anywhere,  and  every- 
where else.  I  leave  for  Spain  to-morrow.  I  shall  remain  there 
all  summer,  going  first  to  Burgos  where  I  shall  shut  myself  up  in 
a  Carthusian  monastery  and  paint  religious  pictures.  I  shall  put 
into  my  work  emotion,  only  emotion,  for  I  trust  that  all  else  may 
disappear!" 

Making  due  allowance  for  the  customary  intensity  of  expres- 
sion inseparable  from  the  artistic  temperament  you  have  herewith 
an  accurate  self-portrait  of  Ignacio  Zuloaga.  He  personifies  in 
extreme  form  the  spirit  of  autocracy  in  art,  the  principle  of  abso- 
lutism so  typical  of  his  race  and  country.  You  will  meet  in  these 
bold,  affirmative  canvases  no  hint  of  cowardice  or  compromise. 
This  work  is  defiant,  almost  despotic.  It  does  not  strive  to  enlist 
sympathy  nor  does  it  fear  to  be  frankly  antipathetic.  The  con- 
tours are  positive,  the  tones  not  infrequently  acidulous,  and  the 
surfaces  sometimes  hard  and  metallic.  Reactionary  if  you  will, 
the  method  of  Zuloaga  stands  in  direct  contrast  to  the  minute 
analytic  notations  so  beloved  of  the  impressionists  and  their  fol- 
lowers. It  entails  no  scrupulous  study  of  milieu.  Synthetic  and 
stylistic,  it  endeavours  to  free  itself  from  that  which  is  capricious 
and  ephemeral  in  order  to  attain  that  which  is  permanent  and 
typical.  Zuloaga  does  not  seek  deftly  to  catch  the  smile  of  nature 
or  sing  the  simple  joys  of  labour  and  relaxation.  Peopled  with 
matadors  and  trianeros,  sensuous  gitanas,  cynical  priests,  and 
seductive  women  of  society,  these  canvases  are  instinct  with  pas- 


30 


sion  and  fatalism.  They  are  primitive,  sinister,  and  full  of  tragic 
implication,  and  as  such  unflinchingly  reflect  certain  fundamental 
national  characteristics.  With  its  innate  structural  strength,  its 
superb  graphic  energy,  and  confident  grasp  of  what  may  be  termed 
the  technique  of  the  whole  the  art  of  Zuloaga  is  perfectly  adapted 
to  the  task  in  hand.  It  depicts  with  convincing  eloquence  la  Espana 
clasica,  that  Spain  at  once  Gothic,  romantic,  picaresque,  and  legit- 
imately modern  to  which  it  is  dedicated — that  immutable  Spain 
whether  it  be  the  Spain  of  the  Gospel  or  the  Spain  of  the  Koran,  the 
Spain  of  the  Crucifixion  or  the  Spain  of  the  corrida.  Finally,  in  the 
ultimate  analysis,  the  art  of  Zuloaga  attains,  under  stress  of  creative 
impulse,  that  purely  emotional  significance  to  which  he  refers — 
emotional  and  romantic,  not,  however,  the  romantic  tinsel  of 
Gautier,  Prosper  Merimee,  and  Bizet  but  the  more  enduring  ro- 
mance of  reality.  In  its  affiliation  with  the  master  tendencies  of 
contemporary  thought  and  feeling  it  has  transcended  Fortuny, 
Vierge,  and  the  agreeable  devotees  of  the  rococo.  It  reflects  some- 
thing of  the  reasoned  verity  of  Manet,  the  vital  intensity  of  Dau- 
mier,  and  the  satanic  suggestion  of  Felicien  Rops. 

It  is  an  easy  matter  with  one  possessing  so  definitely  fixed  a  for- 
mula to  discover  various  so-called  defects  and  deficiencies  in  the 
production  of  Ignacio  Zuloaga.  You  may  readily  contend  that  these 
canvases  lack  the  subtle  ambience  of  atmospheric  effect,  that  the 
tones  are  opaque  and  wanting  in  life  and  vibrancy,  that  the  pas- 
sion for  simplification  and  symmetric  arrangement  has  been  pushed 
too  far,  or  the  sense  of  character  over-emphasized.  Regarding  the 
question  of  atmosphere  it  may  not  be  amiss  to  recall  the  caustic 
counter  of  Degas  that  "  Tair  n'est  bon  qu'a  respirer,"  while  as  for  the 
rest,  I  can  only  reply  that  Zuloaga  has  everywhere  and  at  all 


31 


times  been  true  to  himself.  You  are  familiar  with  his  profession 
of  faith  as  inscribed  above,  and  you  must  strive  to  realize  that 
work  such  as  he  has  given  us  reflects  not  merely  outward  and  exter- 
nal phenomena  but  also  the  imperative  inner  logic  of  the  plastic 
temperament.  Painting  is  in  brief  to  Ignacio  Zuloaga  a  process  of 
self-affirmation.  Both  as  man  and  artist  he  is  typically  autogen- 
eous.  It  is  through  gazing  into  the  spectrum  of  his  own  soul 
that  he  has  attained  that  unity  of  mood  and  manipulative  mas- 
tery so  essential  to  art  that  is  destined  to  endure.  He  does  not 
accept  nature  and  life  as  they  are.  He  makes  all  things  conform 
to  his  own  sovereign  creative  consciousness. 

The  plain  white  walls  of  Zuloaga's  studio  apartment  in  the 
rue  Caulaincourt  are  covered  with  canvases  which  he  prizes  above 
all  else  in  the  world,  all  saving  his  wife,  his  daughter  Lucia,  and 
son  Antonio,  for  this  turbulent  exponent  of  brush  and  palette  is 
also  a  devoted  family  man.  Here  is  a  Carreno,  there  a  Goya, 
there  a  Zurbaran,  there  an  el  Greco,  and  here  are  several  more 
Grecos — Greco  being,  according  to  him,  "el  Dios  de  la  pintura." 
No  one  in  the  entire  hierarchy  of  art  can,  holds  Zuloaga,  be  com- 
pared with  the  mystery-haunted  ascetic  of  Toledo,  the  present 
vogue  of  whom  is  in  large  measure  due  to  the  early  and  discrim- 
inating admiration  of  the  younger  man.  "I  live  with  my  august 
predecessors,"  he  avers  with  simplicity  and  conviction,  and  such 
seems  indeed  the  case,  for  they  are  to  him  an  unfailing  solace  and 
source  of  inspiration.  When  you  survey  their  contribution  and  then 
turn  toward  his  you  will  be  conscious  of  no  break  in  the  continuity 
of  Spanish  aesthetic  development.  He  does  not  imitate  his  for- 
bears; he  perpetuates  their  aims  and  ideals.  And  his  art,  like 
theirs,  is  a  true  pictorial  epitome  of  Spain. 


32 


CATALOGUE  OF  THE  PAINTINGS 


CATALOGUE  OF  THE  PAINTINGS 


1  THE  VICTIM  OF  THE  FETE 

Though  an  ardent  patron  of  the  Spanish  national  sport,  and  himself  a  torero  of 
considerable  ability  and  reputation,  the  artist  admits  that  he  painted  this  picture 
partly  as  a  protest  against  the  sorry  lot  which  befalls  the  poor  Rozinantes 
forced  to  enter  the  bull-ring.  The  model  for  this  sinister  Don  Quijote  of  the 
corrida  was  the  old  picador,  Francisco  el  Segoviano.  Painted  at  Segovia  in 
1910.  Exhibited:  Rome,  1911;  Paris,  1912;  Budapest,  1912;  Dresden,  1912; 
Munich,  1912;  Bilbao,  1915.  Width  137>^  in.  Height  114^  in.  Canvas. 
Signed,  lower  left:  I.  Zuloaga. 

2  THE  BROTHERHOOD  OF  CHRIST  CRUCIFIED 

A  characteristically  personal  version  of  one  of  those  remote  rural  Calvaries 
frequently  witnessed  by  the  artist.  Such  scenes  are  common  in  certain  quar- 
ters of  Spain,  particularly  in  Segovia  and  la  Rioja,  during  Holy  Week.  Painted 
at  Segovia  in  1911  from  local  peasant  types.  Exhibited:  Paris,  1912; 
Dresden,  1912;  Munich,  1912;  Zaragoza,  1916.  Width  118in.  Height  98>< 
in.  Canvas.  Signed,  lower  right:  I.  Zuloaga. 

3  FUTURE  IDOLS 

Ambitious  novilleros  destined  to  attain  the  pinnacle  of  fame  and  popular 
idolization.  The  Plaza  de  Toros  and  Castle  of  Turegano  are  visible  in  the 
background.  This  composition  may  be  compared  with  the  Village  Bull -fighters 
which  figured  in  the  exhibition  of  The  Hispanic  Society  in  1909,  and  forms  the 
latest  addition  to  a  memorable  series  of  such  subjects.  Painted  at  Segovia  in 
1913.  Exhibited:  Paris,  1914.  Width  118  in.  Height  98><  in.  Canvas. 
Signed,  lower  right:  I.  Zuloaga. 

4  MY  UNCLE  DANIEL  AND  HIS  FAMILY 

A  more  comprehensive  treatment  than  the  family  group  entitled  My  Cousins 
and  My  Uncle  Daniel  in  the  Musee  du  Luxembourg.  From  left  to  right: 
Senora  Dona  Zuloaga  and  the  dog  "Polly,"  Senoritas  Theodora  and 
Candida,  Senor  Don  Daniel  Zuloaga,  Senorita  Esperanza,  and  Senor  Don 
Juan  Zuloaga.  Painted  at  Segovia  in  1910.  Exhibited:  Rome,  1911;  Paris, 
1912;  Dresden,  1912;  Munich,  1912;  Brussels,  1914.  Width  115  in.  Height 
82  in.    Canvas.    Signed,  lower  right:  I.  Zuloaga. 


35 


5  THE  CARDINAL 

An  individual  and  significant  presentment  of  the  Church  which,  with  the 
corrida,  offers  an  eloquent  epitome  of  the  Spanish  character.  Those  whose 
taste  for  apposition  is  sufficiently  acute  will  not  fail  to  note  the  sumptuous 
surroundings  of  His  Eminence  and  the  arid  and  desolate  aspect  of  the  country 
in  the  background  over  which  he  exercises  spiritual  and  temporal  dominion. 
Painted  at  Segovia  in  1912.  Exhibited:  Munich,  1912;  Paris,  1914.  Width 
92}im.   Height  79^  in.    Canvas.    Signed,  lower  left:  I.  Zuloaga. 

6  PORTRAIT  OF  M.  MAURICE  BARRES 

The  distinguished  French  publicist  and  man  of  letters,  aptly  called,  in  para- 
phrase of  Thiers,  '*le  litterateur  du  territoire."  He  is  depicted  with  a  pano- 
ramic view  of  Toledo  encircling  him  on  account  of  the  superb  descriptive 
passages  dedicated  to  the  city  in  his  book,  Greco  ou  le  Secret  de  Tolede, 
a  copy  of  which  he  holds  in  his  left  hand.  The  fecund  and  passionate 
author  of  Du  Sang,  de  la  Volupte  et  de  la  Mort  has  indeed  long  been  a  fervent 
admirer  of  Spanish  art  and  the  painting  of  Ignacio  Zuloaga.  On  Senor 
Zuloaga's  study  table  may  be  seen  one  of  the  Frenchman's  books  inscribed ; — 
A  Zuloaga — noble  emule  du  Greco,  de  Zurbaran  et  de  Goya.  Painted  at 
Paris  in  1913.  Exhibited:  Paris,  1914.  Width  94X  in.  Height  79}4  in. 
Canvas.   Signed,  lower  right:  I.  Zuloaga. 

7  PORTRAIT  OF  BUFFALO,  THE  MONTMARTRE  SINGER 

In  order  to  locaUze  the  personaUty  of  the  popular  cafe-concert  entertainer  of 
La  Butte,  who  is  dressed  a  la  Bruant,  we  have  as  background  a  drop  curtain 
showing  the  Moulin  de  la  Galette  and  Sacre-Coeur.  This  is  the  second  time 
Zuloaga  has  depicted  Buffalo  for  us,  there  having  been  a  portrait  of  him  in 
The  Hispanic  Society  Exhibition  of  1909.  Painted  at  Paris  in  1913.  Never 
before  exhibited.  Width  5SJ4  in.  Height  845^  in.  Canvas.  Signed,  lower 
right:  I.  Zuloaga. 

8  MY  COUSIN  CANDIDA 

One  of  the  most  ambitious  and  distinguished  versions  of  the  eldest  of  the 
painter's  three  cousins  who  are  familiarly  known  as  "las  primas."  Painted 
at  Segovia  in  1914.  Never  before  exhibited.  Width  62}i  in.  Height  S0}4 
in.    Canvas.    Signed,  lower  left:  I.  Zuloaga. 


36 


9  PORTRAIT  OF  MADAME  LA  COMTESSE  MATHIEU  DE 
NOAILLES 

The  poetess  has  been  presented  in  an  appropriately  oriental  setting  on  account 
of  her  ancestry,  she  being  of  Eastern  origin.  Note  the  recumbent  posture,  the 
amber  necklace,  and  vase  of  flowers.  She  reposes  upon  a  green  couch,  be- 
cause green  is  her  favourite  colour.  Though  rarely  attempting  le  grand  style, 
the  artist  has  by  no  means  failed  to  give  this  subject  the  requisite  interest 
and  distinction.  Painted  at  Paris  in  1913.  Never  before  exhibited.  Width 
n%  in.    Height  59^  in.   Canvas.    Signed,  lower  right:  I.  Zuloaga. 

10  SEGOVIA 

An  austere,  tragic  version  of  Segovia  la  vieja — ^Iberian,  Romanesque,  and 
Gothic  Segovia — with  its  massive  cathedral,  rugged  sky-line,  and  age-scarred 
house  fronts.  Painted  at  Segovia  in  1910.  Exhibited:  Rome,  1911;  Dresden, 
1912;  Munich,  1912.  Width  78  in.  Height  52  in.  Canvas.  Signed,  lower 
right:  I.  Zuloaga. 

11  MARCELLE  SOUTY 

Mile.  Souty  is  half  Spanish,  half  French.  Painted  at  Paris  in  1915.  Never 
before  exhibited.  Width  43^  in.  Height  75>^  in.  Canvas.  Signed,  lower 
right:  I.  Zuloaga. 

12  BASQUE  PEASANT 

Veritable  aldeano  Vasco  on  his  caserio  or  mountain  farm  near  Zumaya,  where 
the  artist  has  his  summer  home.  Full  of  racial  character  and  an  important 
addition  to  Senor  Zuloaga's  gallery  of  native  local  types.  Painted  at  Zumaya, 
Guipuzcoa,  in  1915.  Never  before  exhibited.  Width  39>^  in.  Height  74>i 
in.  Canvas.   Signed,  lower  left:  I.  Zuloaga. 

13  MLLE.  LUCIENNE  BREVAL 

The  well-known  opera  singer  in  a  pose  suggesting  Carmen,  of  which  role  she 
is  a  veracious  and  convincing  interpreter.  Compare  with  the  full-length  of 
Mile.  Lucienne  Breval  in  Carmen  now  at  the  Metropolitan  Museum  of  Art. 
Painted  at  Segovia  in  1910.  Exhibited:  Rome,  1911;  Vienna,  1912;  Dresden, 
1912;  Munich,  1912;  Moscow,  1913;  Petrograd,  1913.  Width  38>^  in.  Height 
51  in.    Canvas.    Signed,  lower  left:  I.  Zuloaga. 


37 


14  NUDE  WOMAN  WITH  RED  CARNATION 


One  of  the  painter's  most  comprehensive  studies  of  the  human  form,  somewhat 
recalhng  Irene  RecUning  of  the  Galleria  Nazionale  di  Arti  Moderna  of  Rome. 
The  cream-white  mantilla  and  red  flower  are  sufficient  to  suggest  the  Spanish 
affiliation  of  a  young  creature  who  has  here  been  presented  with  commen- 
dable simplicity.  Compare  with  the  Nude  Woman  with  Parrot,  Catalogue  No. 
20.  Painted  at  Paris  in  1915.  Never  before  exhibited.  Width  72 >^  in.  Height 
52  in.  Canvas.    Signed,  lower  left:  I.  Zuloaga. 

15  PORTRAIT  OF  M.  LARRAPIDI 

Violonist,  composer,  and  uncle  to  Mme.  Larra  of  the  Comedie  Francaise. 
The  artist  has  been  particularly  sympathetic  in  his  portrayal  of  musicians 
and  singers.  Painted  at  Paris  in  1910.  Exhibited:  Rome,  1911;  Vienna,  1912; 
Dresden,  1912;  Munich,  1912;  Moscow,  1913;  Petrograd,  1913.  Width 
43)4  in.    Height  625 i  in.    Canvas.    Signed,  lower  right:  I.  Zuloaga. 

16  A  RUSSIAN 

This  restrained  yet  striking  character  portrait  was  painted  at  Paris  in  1912. 
Never  before  exhibited.    Width  38J4,  in.    Height  76}i  in.    Canvas.  Signed 


and  dated  1912,  lower  left:  I.  Zuloaga. 

17  LOLITA  SORIANO  IN  BLACK 

Senorita  Soriano  was  painted  at  Zumaya,  Guipuzcoa,  during  the  summer  of 
1915.  Never  before  exhibited.  Width  24>^  in.  Height  33^  in.  Canvas. 
Signed,  lower  right:  I.  Zuloaga. 

18  LOLITA  SORIANO 

Same  model  as  the  preceding  in  different  dress  and  pose.  Painted  at 
Zumaya,  Guipuzcoa,  in  1915.  Never  before  exhibited.  Width  393^  in. 
Height  30^  in.    Canvas.    Signed,  lower  right:  I.  Zuloaga. 

19  CANDIDA 

Compare  with  the  full-length,  Catalogue  No.  8,  and  the  standing  figure  of 
Candida  in  My  Uncle  Daniel  and  His  Family,  Catalogue  No.  4.  Painted  at 
Zumaya,  Guipuzcoa,  in  1915.  Never  before  exhibited.  Width  25  in.  Height 
33  in.  Canvas.    Signed,  lower  left:   I.  Zuloaga. 


38 


20  NUDE  WOMAN  WITH  PARROT 

Not  a  patrician  type  such  as  Goya's  Maja  desnuda,  but  a  young  Spanish 
courtesan  of  the  people  seen  somewhat  compositely  though  given  a  local 
Segovian  setting.  Painted  at  Paris  in  1913.  Exhibited:  Paris,  1914.  Width 
73  in.    Height  51^  in.    Canvas.    Signed,  lower  right:  I.  Zuloaga. 

21  WOMEN  OF  SEPULVEDA 

Sepulveda,  an  ancient,  isolated  settlement  of  some  two  thousand  souls  lying 
northeast  of  Segovia,  has  furnished  the  artist  with  some  of  his  most  charac- 
teristic subjects  and  backgrounds.  Painted  at  Segovia  in  1909.  Exhibited: 
Venice,  1910;  Vienna,  1912;  Dresden,  1912;  Munich,  1912;  Moscow,  1913; 
Petrograd,  1913.  Width  83  in.  Height  70>^  in.  Canvas.  Signed,  lower 
left:  I.  Zuloaga. 

22  CELESTINA 

A  persistently  romantic  young  woman  of  Segovia.  Painted  at  Segovia 
in  1907.  Exhibited:  Barcelona,  1907;  Frankfort,  1908;  Paris,  1910;  Rome, 
1911;  Vienna,  1912;  Dresden,  1912;  Munich,  1912;  Moscow,  1913;  Petro- 
grad, 1913.  Width  71}i  in.  Height  59^  in.  Canvas.  Signed,  lower  right: 
I.  Zuloaga. 

23  THE  BULL-FIGHTER  EL  SEGOVIANITO 

The  model  was  a  young  Segovian  toreador  of  distinct  promise.  Painted  at 
Segovia  in  1912.  Never  before  exhibited.  Width  42>^  in.  Height  79><  in. 
Canvas.  Signed:  lower  right:  I.  Zuloaga.  Lent  by  Senor  Don  Jose  Santa - 
marina,  Paris. 

24  MERCEDITAS 

Also  known  as  the  Woman  in  Pale  Green.  Painted  at  Madrid  in  1907.  Ex- 
hibited: The  Hispanic  Society,  New  York,  1909;  Barcelona,  1910.  Width 
47 }i  in.  Height  69>^  in.  Canvas.  Signed,  lower  left:  I.  Zuloaga.  Lent 
by  Senor  Don  Jose  Santamarina,  Paris. 

25  LOLITA 

This  subject  may  be  considered  in  character  and  general  conception  with 
Rosita  of  the  Vanderbilt  Collection,  now  in  the  National  Gallery,  Washing- 
ton, D.  C.  Painted  at  Paris  in  1913.  Never  before  exhibited.  Width  73>^ 
in.  Height  52^  in.  Canvas.  Signed,  lower  right:  I.  Zuloaga.  Lent  by 
Senor  Don  Jose  Santamarina,  Paris. 


39 


26  ANITA  RAMIREZ  IN  BLACK 

The  model  was  the  young  and  talented  Spanish  dancer  who  has  recently 

achieved  considerable  success  in  Paris  and  elsewhere.    Painted  at  Paris  in 

1916.  Never  before  exhibited.  Width  51)4  in.  Height  75  in.  Canvas. 
Signed,  lower  left:  I.  Zuloaga. 

27  ANITA  RAMIREZ  IN  YELLOW 

Companion  picture  to  the  former.  Note  the  interesting  scenographic  back- 
grounds of  these  two  compositions.  Painted  at  Paris  in  1916.  Never  before 
exhibited.  Width  52f^  in.  Height  83  in.  Canvas.  Signed,  lower  left: 
I.  Zuloaga. 

28  ANITA  RAMIREZ  ON  A  YELLOW  COUCH 

An  attempt  has  here  been  made  to  indicate  a  more  formal  decorative  ensem- 
ble than  in  the  preceding  versions  of  this  delectable  creature.  Painted  at 
Paris  in  1915.  Never  before  exhibited.  Width  74  in.  Height  in.  Can- 
vas.   Signed,  lower  left:  I.  Zuloaga. 

29  SEGOVIA 

Perched  like  Toledo  upon  the  crest  of  a  hill,  Segovia  stands  a  matchless 
mediaeval  town,  its  foundations  deep-anchored  in  dim  antiquity.  Observe  the 
massive  walls  encomjpassing  the  city  and  strengthened  at  given  intervals  by 
semicircular  cubos.  Avila  is  built  of  cold  grey  granite;  Segovia  of  a  whitish 
stone  that  turns  to  gold  in  the  sunlight  and  reflects  a  variety  of  local  tints 
and  tones.  Painted  at  Segovia  in  1910.  Never  before  exhibited.  Width 
38^  in.    Height  35^  in.    Canvas.    Signed,  lower  right:  I.  Zuloaga. 

30  ALQUEZAR 

The  painter's  largest  and  most  ambitious  landscape  subject.  Alquezar,  a 
notably  picturesque  spot,  is  in  Aragon.  Never  before  exhibited.  Width  JSys 
in.    Height  543^  in.    Canvas.    Signed,  lower  left:  I.  Zuloaga. 

31  WOMAN  CARDING  FLAX 

Known  in  Spanish  as  la  Hilandera.  She  is  a  native  of  Castilla  la  Vieja,  which 
abounds  in  such  types,  and  seems  a  veritable  Clotho,  spindle  in  her  hand. 
Painted  at  Segovia  in  1909.  Width  34}i  in.  Height  77}im.  Canvas.  Signed 
lower  right:  I.  Zuloaga. 


40 


32  PORTRAIT  OF  MY  FATHER 

Senor  Don  Placido  Zuloaga  y  Zuloaga,  distinguished  armero  and  decorative 
artist,  was  born  in  1830  and  died  in  1910.  He  is  here  seen  at  the  age  of  sixty- 
five  in  his  ateHer  at  Eibar  where  he  Hved  and  laboured  for  over  half  a 
century.  Width  39>^  in.    Height  85^4  in.    Canvas.    Not  signed. 

33  MY  PORTRAIT 

The  artist,  like  his  father,  wears  the  customary  boina  or  cap  of  dark  blue  so 
popular  with  the  natives  of  Guipuzcoa.  Painted  at  Paris  in  1913.  Never  be- 
for  exhibited.  Width  19^  in.  Height  2S^  in.  Canvas.  Signed,  lower  left :  A. 
Don  Jose  Santamarina  su  amigo  I.  Zuloaga.  Lent  by  Senor  Don  Jose  Santa - 
marina,  Paris. 

34  PORTRAIT  OF  LA  TRINI 

Also  known  as  Rosarito.  An  early  canvas  revealing  the  persistence  of  Goya 
and  the  romantic  tradition.  The  subject  was  a  well-known  Madrid  actress. 
Exhibited:  Buenos  Aires,  1910.  Width  35^  in.  Height  343^  in.  Canvas. 
Signed,  lower  right:    I.  Zuloaga. 

35  WOMEN  ON  THE  BALCONY 

These  animated  devotees  of  the  corrida  have  long  been  in  the  artist's  mind,  for 
he  planned  this  composition  over  a  dozen  years  ago.  Note  the  old  picador, 
Francisco  el  Segoviano,  about  to  leave  the  arena.  Painted  in  1915.  Never 
before  exhibited.  Width  52  in.  Height  72  in.  Canvas.  Signed,  lower  right: 
I.  Zuloaga.    Lent  by  Willard  Straight  Esq. 

36  SEPULVEDA 

Painted  at  Segovia  in  1913.  Exhibited:  Kraushaar  Galleries,  New  York,  1914. 
Width  32  in.  Height  23^  in.  Canvas.  Signed,  lower  right:  I.  Zuloaga. 
Lent  by  Willard  Straight  Esq. 

37  PEPITA  LA  GITANA 

A  true  Andalucian  gipsy  girl.  Width  21^  in.  Height  30  in.  Canvas. 
Signed,  lower  left:  Zuloaga.    Lent  by  Willard  Straight  Esq. 


41 


38  LA  VIRGEN  DE  LA  PENA 

Rock-bound  cloister  in  Aragon.  Painted  at  Segovia  in  1912.  Exhibited. 
Kraushaar  Galleries,  New  York,  1914.  Width  303/8  in.  Height  25>^  in: 
Canvas.    Signed,  lower  right:  I.  Zuloaga.    Lent  by  Willard  Straight  Esq. 

39  THE  PHILOSOPHER 

Zuloaga,  in  common  with  his  great  precursor,  Velazquez,  has  always  dis- 
played a  partiality  for  such  types.  This  subject  recalls  the  masterly  half- 
length  of  The  Philosopher  Melquiades  and  also  The  Village  Apothecary,  to 
each  of  which  the  painter  has  given  a  serious  and  thoughtful  aspect.  Painted 
in  1915.  Never  before  exhibited.  Width  46>^  in.  Height  3Sfi  in.  Canvas. 
Signed,  lower  left:  I.  Zuloaga.    Lent  by  Mrs.  Philip  M.  Lydig. 

40  SURPRISE 

Spirited  half-length  painted  at  Paris  in  1913.  Never  before  exhibited.  Width 
35>^  in.  Height  39;^  in.  Canvas.  Signed,  lower  right:  A  Rita  Lydig  su 
amigo  I.  Zuloaga.    Lent  by  Mrs.  Philip  M.  Lydig. 

41  YOUNG  WOMAN  WITH  FAN 

More  subdued  in  tone  than  the  former  work.  Painted  at  Segovia  in  1910. 
Never  before  exhibited.  Width  26^  in.  Height  37}i  in.  Canvas.  Signed 
lower  right:  I.  Zuloaga.    Lent  by  Mrs.  Philip  M.  Lydig. 

42  THE  CASTLE  OF  TUREGANO 

Turegano  is  a  picturesque  old-world  settlement  on  the  highroad  from  Segovia 
to  Riaza.  The  main  building  in  the  background  is  a  castle-church.  Painted 
in  1908.  Exhibited:  The  Hispanic  Society,  New  York,  1909;  Buenos  Aires, 
1910;  Rome,  1911.  Width  20^i  in.  Height  26f^  in.  Canvas.  Signed, 
lower  left:  I.  Zuloaga.    Lent  by  Mrs.  Phihp  M.  Lydig. 

43  PORTRAIT  OF  MRS.  PHILIP  M.  LYDIG 

Painted  at  Paris  in  1912.  Exhibited:  SeUgmann  Galleries,  New  York,  1913. 
Width  28  in.  Height  38^^  in.  Canvas.  Signed,  lower  right:  I.  Zuloaga. 
Lent  by  Mrs.  Philip  M.  Lydig. 


42 


PAINTINGS  BY  IGNACIO  ZULOAGA 

IN  PUBLIC  AND  PRIVATE  COLLECTIONS 


ARGENTINE  REPUBLIC 


BUENOS  AIRES 

MUSEO  NACIONAL  DE  BELLAS  ARTES 
The  Sorceresses  of  San  Millan 
Spaniards  and  an  Englishwoman 
The  Return  of  the  Vintners 

AGUIRRE  COLLECTION 

Candida 

ARTAL  COLLECTION 
A  Piquant  Retort 
Rosita 

GALVEZ  COLLECTION 

The  Village  Judge 


GIRONDO  COLLECTION 

Carmen  the  Gipsy 
Portrait  of  Senor  Girondo 


PAZ  DE  GIANZA  COLLECTION 

Candida  Laughing 

SANTAMARINA  COLLECTION 

My  Cousin 

Paulette  as  Danseuse 

Portrait  of  Don  Antonio  Santamarina 

Portrait  of  Dona  Lola  Santamarina 

SEMPRUN  COLLECTION 
Carmen 


AUSTRIA  -  HUNGARY 


TRIESTE 

MUSEO  CIVICO  REVOLTELLA 
The  Little  Gipsy  Lolita 

VIENNA 

MODERNE  GALERIE 

The  Poet  Don  Miguel  of  Segovia 

FALTIS  COLLECTION 
Candidita 


WITTGENSTEIN  COLLECTION 

The  Castle  of  Cuellar 

LANCKORONSKI-BRZEZIE  COL 
LECTION 

Bull-fight  at  Eibar 

BUDAPEST 
SZEPMUVESZETI  MUZEUM 
Bull-fighter 


BELGIUM 


ANTWERP 

MUSEE  DES  MODERNES 

The  Mayor  of  Biomoro  and  His  Wife 


BRUSSELS 


MUSEE  MODERNE  DE  PEINTURE 
Before  the  Bull-fight 


43 


BRUSSELS— Continued 

MAUS  COLLECTION,  IXELLES 
Pepillo  and  His  Fiancee 

VAN  KUSTEN  COLLECTION 
The  Dwarf  of  Eibar  Don  Pedro 


GHENT 

MUSEE  DE  GAND 

Segovian  Types 

LAROCHE-LECHAT  COLLECTION 
At  the  Bull-fight 


PARIS 

MUSEE  NATIONAL  DU  LUXEMBOURG 
Daniel  Zuloaga  and  His  Daughters 
The  Dwarf  Dona  Mercedes 

ALVEAR  COLLECTION 
The  Comedian  Antonetti  Zambilli 

BEISTENGI  COLLECTION 
Candida  in  Yellow 
Woman  with  Yellow  Gloves 

BOURGES  COLLECTION 
Portrait  of  M.  Eleimer  Bourges 

BULTEAU  COLLECTION 
The  Picador  el  Coriano 

COSSON  COLLECTION 
Monk  in  Ecstasy 
Tarragona 

DE  GANY  COLLECTION 
The  Bull-fighter  Pepillo 

DURAND-RUEL  COLLECTION 
On  the  Balcony 

DURRIO  COLLECTION 

Fontainebleau 

HERMANT  COLLECTION 
Gipsy  Girl 

LARRETA  COLLECTION 
Portrait  of  M.  Larreta 


FRANCE 

LAZARE  COLLECTION 
Portrait  of  a  French  Actress 

LELOIR  COLLECTION 

Esperanza 

MAIZEROY  COLLECTION 
Portrait  of  M.  Rene  Maizeroy 
MARCEL  COLLECTION 
Lola  the  Gipsy  Girl 

PACQUEMENT  COLLECTION 

The  Village  Apothecary 
My  Cousin  Candida 
The  Painter  Pablo  de  Uranga 
Woman  with  Fan 

RODIN  COLLECTION 

The  Mayor  of  Torquemada 

SANTAMARINA  COLLECTION 

Merceditas 

Portrait  of  Don  Antonio  Santamarina 
Portrait  of  Don  Jose  Santamarina 
Gipsy  with  White  Shawl 
My  Portrait 
Lolita 

SINCERE  COLLECTION 
On  the  Balcony 

WEILLER  COLLECTION 
Young  Girl  at  the  Bull-fight 


PAU 

MUSEE  DE  PAU 
Penitents  in  Ecstasy 


44 


GERMANY 


BARMEN 


FRANKFORT-ON-THE-MAIN 


TOELLE  COLLECTION 
The  Street  of  Love 

BERLIN 

KONIGLICHE  NATIONALGALERIE 

Basque  Peasants 

ARNHOLD  COLLECTION 
Young  Woman  with  Black  Mantilla 

BATHMANN  COLLECTION 
Gipsy  and  Andalusian  Woman 

STEINBART  COLLECTION 

Segovian  Peasants  Drinking 
Vintners 

BREMEN 
KUNSTHALLE 
Portrait  of  the  Actress  Consuela 

SPARKUHLE  COLLECTION 
The  Bull-fighter  el  Bunolero 

DRESDEN 

ROTHERMUNDT  COLLECTION 

Gipsy  Coquetry 

Lassitude 


ROME 


FLERSHEIM  COLLECTION 

Spanish  Dancers 
The  Street  of  Passion 

KOCH  COLLECTION 
Pastorita 

LEIPZIG 

PRIVATE  POSSESSION 
Promenade  after  the  Bull-fight 

MUNICH 

HERMES  COLLECTION 
Paulette 

STUTTGART 

KONIGLICHE  MUSEUM  DER  BILDEN- 

DEN  KUNSTE 
The  Tea  Seller  of  Anso 


ITALY 


VENICE 


GALLERIA  NAZIONALE  DI  ARTE  MOD- 
ERNA 

The  Old  Boulevardier 
Irene  Reclining 


GALLERIA  INTERNAZIONALE 

ARTE  MODERNA 
Aunt  Luisa 

Women  on  the  Balcony 


DI 


MEXICO 
MEXICO  CITY 

PIMENTEL  COLLECTION  Merceditas  The  Bull-fighter  el  Trianero 


45 


POLAND 

WARSAW 

DE  PIGNATELLI  COLLECTION    The  Countess  Puslovska  de  Pignatelli 


RUSSIA 


MOSCOW 

MOROSOV  COLLECTION 
Preparing  for  the  Bull-fight 

RIABOUCHINSKY  COLLECTION 

The  Dwarf  Gregorio,  el  Botero 
Self-portrait  of  Ignacio  Zuloaga 


TCHOUKINE  COLLECTION 

Women  at  the  Bull-fight 
Portrait  of  M.  Tchoukine 


SPAIN 


BARCELONA 
MUSEO  MUNICIPAL  Y  PROVINCIAL 

Friends 

My  Three  Cousins 

BILBAO 

MUSEO  DE  PINTURA 
Dona  Rosita 

Portrait  of  Senora  Quintana  de  Moreno 


SOTA  COLLECTION 
Basque  Peasants  at  Luncheon 

MADRID 

MUSEO  DE  ARTE  MODERNA 

Segovian  Peasant 

SITJES 

RUSINOL  MUSEUM,  CAU-FERRAT 
Distributing  Wine  in  the  Basque  Country 


SWEDEN 

STOCKHOLM 
THIEL  COLLECTION,  DJURGARDEN 


Pastorita  the  Gipsy 


UNITED  STATES  OF  AMERICA 


BOSTON 

FEARING  COLLECTION 
Portrait  of  Mr.  F.,  Sr. 
Portrait  of  Mrs.  F.,  Sr. 
Portrait  of  Mr.  F.,  Jr. 
Portrait  of  Mrs.  F.,  Jr. 


Candida  Smiling 
Bull-fighter 

Spanish  Woman  with  Fan 
Landscape 

DETROIT 

DETROIT  MUSEUM  OF  ART 
The  Fan  (Lent  by  Miss  Julia  Peck) 


46 


NEW  YORK 

THE  HISPANIC  SOCIETY  OF  AMERICA 

The  Family  of  the  Gipsy  Bull-fighter 
The  Flagellants 
Portrait  of  the  Artist 

METROPOLITAN  MUSEUM  OF  ART 

Mile.  Lucienne  Breval  in  Carmen 

(Lent  by  The  Hispanic  Society  of  America) 


LYDIG  COLLECTION 

The  Philosopher 

The  Castle  of  Turegano 

Young  Woman  with  Fan 

Surprise 

Portrait  of  Mrs.  Philip  M.  Lydig 


PECK  COLLECTION 
Lolita 

The  Cemetery  of  Avila 


PHILLIPS  COLLECTION 

La  Montmartroise 

ROSEN  COLLECTION 
Casque  d'or 

STRAIGHT  COLLECTION 

The  Bull-fighter  el  Corcito 

The  Gipsy  Dancer  la  Gitana 

Women  on  the  Balcony 

Pepita  la  Gitana 

La  Virgen  de  la  Pena 

Sepulveda 

ST.  LOUIS 

CITY  ART  MUSEUM 
The  Hermit 

WASHINGTON 
NATIONAL  GALLERY 

Rosita 

(Lent  by  Mrs.  George  W.  Vanderbilt) 


VARIOUS  AMERICAN 

Village  Bull-fight 
Blonde  with  Black  Mantilla 
The  Bull-fighter  Achita 
Mountains  of  Estella 
Dancer  with  Black  Shawl 
Dancer  in  Toreador  Costume 
Portrait  of  Fernando 


PRIVATE  COLLECTIONS 

La  Morenita  with  White  Mantilla 
La  Morenita  with  Black  Mantilla 
Candida 

Candida  in  White 
Sepulveda 

Dancer  with  Black  and  White  Shawl 
Head  in  Red  Mantilla 


ADDENDA 

LONDON:  Congosto  Collection,  Portrait  of  Dr.  Jose  Congosto.  CAMBRIDGE  UNI- 
VERSITY: Portrait  of  Oscar  Browning.  PARIS:  Bayard  Collection,  The  Honey  Seller; 
Breval  Collection,  Portrait  of  Mile.  Breval;  Gilly  Collection,  Portrait  of  Mme.  Gilly;  Golou- 
bieff  Collection,  My  Cousin  Candida;  Manzi  Collection,  The  Spinner;  Mendes  Collection, 
Portrait  of  Mme.  Catulle  Mendes;  Meyer  Collection,  Don  Quijote  and  Sancho;  Picard 
Collection,  Portrait  of  Mile.  Madeleine  Picard.  ROTTERDAM:  Reuchlin  Collection, 
Segovia.    REINACH :  Kirdorf  Collection,  A  Vaquero. 


47 


BIBLIOGRAPHY 


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Diericks,  Gustav.    Die  Kunst  im  Heutigen  Spanien.    Die  Kunst  fiir  AUe, 
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49 


Five  Essays  on  the  Art  of  Ignacio  Zuloaga.  By  Don  Miguel  Utrillo,  Arsene 
Alexandre,  Gabriel  Mourey,  Rene  Maizeroy,  and  The  Reverend  Father 
M.  Gil.    The  Hispanic  Society  of  America,  New  York,  1909. 

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50 


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51 


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52 


LIST    OF  PLATES 


SELF-PORTRAIT  OF  IGNACIO  ZULOAGA     ....  Frontispiece 

PORTRAIT  OF  THE  ARTIST  (DETAIL)   6 

MY  PORTRAIT   8 

THE  VICTIM  OF  THE  FETE   57 

WOMEN  ON  THE  BALCONY   59 

THE  CARDINAL   61 

SURPRISE   63 

SEGOVIA   65 

MY  COUSIN  CANDIDA   67 

MY  UNCLE  DANIEL  AND  HIS  FAMILY   69 

MLLE.  LUCIENNE  BREVAL   71 

NUDE  WOMAN  AND  PARROT   73 

A  RUSSIAN   75 

PORTRAIT  OF  M.  MAURICE  BARRES   77 

THE  CASTLE  OF  TUREGANO   79 

PORTRAIT  OF  MME.  LA  COMTESSE  MATHIEU  DE  NOAILLES  81 

BASQUE  PEASANT   83 

CANDIDA   85 

THE  BROTHERHOOD  OF  CHRIST  CRUCIFIED   87 

MERCEDITAS   89 

THE  PHILOSOPHER   91 

WOMAN  CARDING  FLAX   93 

LA  VIRGEN  DE  LA  PENA   95 

53 


NUDE  WOMAN  WITH  RED  CARNATION  97 

PORTRAIT  OF  M.  LARRAPIDI  99 

FUTURE  IDOLS  101 

PEPITA  LA  GITANA  103 

PORTRAIT  OF  THE  MONTMARTRE  SINGER  BUFFALO    .     .  105 

WOMEN  OF  SEPULVEDA    107 

PORTRAIT  OF  MY  FATHER  109 

LOLITA  SORIANO  IN  BLACK  Ill 

LOLITA  113 

MARCELLE  SOUTY  115 

SEGOVIA  117 

YOUNG  WOMAN  WITH  FAN  119 

CELESTINA  121 

ANITA  RAMIREZ  IN  BLACK  123 

ANITA  RAMIREZ  ON  A  YELLOW  COUCH  125 

THE  BULL-FIGHTER  EL  SEGOVIANITO  127 

LOLITA  SORIANO  129 

ANITA  RAMIREZ  IN  YELLOW  131 

ALQUEZAR  133 

PORTRAIT  OF  LA  TRINI  135 

SEPULVEDA  137 

PORTRAIT  OF  MRS.  PHILIP  M.  LYDIG  139 

FACSIMILE  OF  THE  ARTIST'S  SIGNATURE  141 


54 


THE  PAINTINGS  ON  EXHIBITION 


THE  VICTIM  OF  THE  FETE 


57 


Copyright,  1916,  by  Willard  Straight 

WOMEN  ON  THE  BALCONY 


59 


THE  CARDINAL 


SURPRISE 


63 


SEGOVIA 


65 


MY  COUSIN  CANDIDA 


MY  UNCLE  DANIEL  AND  HIS  FAMILY 

69 


MLLE.  LUCIENNE  BREVAL 


71 


NUDE  WOMAN  AND  PARROT 


73 


A  RUSSIAN 


75 


PORTRAIT  OF  M.  MAURICE  BARRES 

77 


THE  CASTLE  OF  TUREGANO 

79 


PORTRAIT  OF  MME.  LA  COMTESSE  MATHIEU  DE  NOAILLES 

81 


BASQUE  PEASANT 

83 


85 


THE  BROTHERHOOD  OF  CHRIST  CRUCIFIED 


87 


THE  PHILOSOPHER 


91 


LA  VIRGEN  DE  LA  PENA 


95 


NUDE  WOMAN  WITH  RED  CARNATION 

97 


PORTRAIT  OF  M.  LARRAPIDI 

99 


FUTURE  IDOLS 

101 


PEPITA  LA  GITANA 

103 


it. 


THE  MONTMARTRE  SINGER  BUFFALO 


105 


WOMEN  OF  SEPULVEDA 


PORTRAIT  OF  MY  FATHER 
109 


LOLITA  SORIANO  IN  BLACK 

111 


LOLITA 

113 


MARCELLE  SOUTY 

115 


SEGOVIA 


117 


YOUNG  WOMAN  WITH  FAN 

119 


CELESTINA 

121 


ANITA  RAMIREZ  ON  A  YELLOW  COUCH 

125 


7i' 


LOLITA  SORIANO 


129 


ANITA  RAMIREZ  IN  YELLOW 

131 


ALQUEZAR 


133 


135 


SEPULVEDA 


137 


PORTRAIT  OF  MRS.  PHILIP  M.  LYDIG 

139 


[Facsimile  of  Artist's  Signature] 


141 


1 


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